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 Posted: Thu Nov 13, 2008 4:58 pm
What chord progressions can I use with Eadd11 when its my starting chord after resolving from a Esus4? I have no idea what key I'm in yet, but the chord progression I'm trying to get is slow and melodic and then eventually builds up to rocking and melodic.
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Posted: Thu Nov 13, 2008 10:30 pm
Are you sure you're using Eadd11? The chord sounds so similar to Esus4 that the addition of the third, which is a smooth interval, doesn't do very much for the pattern. I've played the two in all the most melodic ways I can for the past seven minutes or so, and I can't even decide why you'd pick that chord to start a new phrase after ending on an Esus4.
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Posted: Fri Nov 14, 2008 3:59 pm
Here's how I'm doing it. Its fairly melodic this way.
E 7
B 10 slide your pinky down to 9
G 9
D 7
A 7
E
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Posted: Fri Nov 14, 2008 9:02 pm
Hannibal Mannibal Here's how I'm doing it. Its fairly melodic this way. E 7 B 10 slide your pinky down to 9 G 9 D 7 A 7 E maybe use a C#m add7 somewhere? E 4 B 5 G 4 D 6 A 4 E and then some form of B chord before it gets "rocky" it's simple, but it's just a thought. EDIT: I know quotes are ******** up right now...
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Tomatoes and Radiowire Vice Captain
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Posted: Sat Nov 15, 2008 10:08 am
My ears just keep telling me that you ought to be going back to straight up Emaj rather than adding that fourth in the starting chord. If I were doing a two chord last bar, like, two beats for each chord or three for one and two for the other, I'd do it like this:
E 7 -- 7 --| 7
B 10 - 9 --| 9
G 9 -- 9 --| 9
D 7 -- 7 --| 9
A 7 -- 7 --| 7
E
At which point I would either dump to the fifth a la Badd4 or go sixth with C#m7, like Rson suggested. The progression I found myself intuitively using went like this:
Emaj, Badd4, C#m7, Asus2
You can also invert the Badd4 and C#m7 to get a consistently falling pattern. The first pattern sounds very rock-y as is, so maybe you ought to start inverted and then revert to my more stock-rock number, changing the Asus2 to an Amaj or Aadd2 when you start rocking out to kill a little of the dissonance.
Oh, here, have some chord shapes, in the order of E, Badd4, C#m7, Asus2, Aadd2
E 7 -- 7 -- 9 --- -- -- 7
B 9 -- 8 -- 9 --- -- -- 7
G 9 -- 9 -- 9 --- 4 -- 6
D 9 -- 9 -- 9 --- 7 -- 9
A 7 -- 7 -- 11 -- 7 -- 7
E -- -- 7 -- 9 --- 5 -- 5
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Posted: Sat Nov 15, 2008 2:23 pm
Thanks mang. This is a much better chord progression. I'll have to memorize those two new chord shapes and add them to mah repertoire. =D
Also, that Asus2 is an INCREDIBLY messy stretch - I just use do it like so:
E
B
G
D 9
A 7
E 5
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Posted: Sat Nov 15, 2008 3:22 pm
The Asus2 is a pretty easy non-barre pattern. I like the upper octave, and when I'm jazzing it up, I drop the lower root tone entirely. The AADD2 is probably going to give me tendonitis. Usually I do Amadd2 like that, instead, but the major tone kept it from going modal and ******** your rock up.
I derived that thoroughly ******** up shape from a lick that I incorporate into some of my solos.
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Posted: Sat Nov 15, 2008 3:49 pm
The Aadd2 is actually a pretty easy shape for me to do 'cause of the way I play major scales and modes. That Asus2, though, is somehow really hard for me to do. o_o Its one of the two chord shapes I have trouble forming. The other just takes me a second to arrange my fingers and is so:
E
B 3 (2)
G 2 (1)
D 4 (3)
A 5 (4)
E
Fingering in paranthesis. Its a cool sounding major chord voicing, though.
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Tomatoes and Radiowire Vice Captain
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Posted: Sat Nov 15, 2008 6:00 pm
Hannibal Mannibal Thanks mang. This is a much better chord progression. I'll have to memorize those two new chord shapes and add them to mah repertoire. =D Also, that Asus2 is an INCREDIBLY messy stretch - I just use do it like so: E B G D 9 A 7 E 5 guess what I just got from that? E -5-5-5-5---7 - -- 7 B -5-5-5-5---10 -- 9 G -6-7-6-6---9 - -- 9 D -7-7-5-7---7 - -- 9 A -5-5-5-7---7 - -- 7 E----...---5 remember this one??? play it a few times you should get it.
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Posted: Sat Nov 15, 2008 8:52 pm
The only sound that came out of my guitar was the sound of 'not getting it.'
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Posted: Sun Nov 16, 2008 10:10 am
Yeah, give us some rhythm so that we know what we're up to.
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Posted: Sun Nov 16, 2008 11:46 am
Yeah it would really help to know the key because if you want to resolve tension you usually go back to some chord diatonic to that key... at least that's the typical approach.
Is C#m add7 the same thing as C#m7 ?... cause they look the exact same...
Ahhh... experimenting with chords is so much fun... Imma gone steal all of these voicing....
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Posted: Sun Nov 16, 2008 10:17 pm
Yep. It's the exact same thing. Most of us just write seventh chords as Cm7, Cmaj7, C7, or Cmin/maj7. It tells you EXACTLY what seventh interval you're using.
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Posted: Sun Nov 16, 2008 10:19 pm
I suck at rhythm notation so bad.. and I don't even know how to show it without grand staff/treble clef so here: full disclosurealso I was wrong the last chord is f#m add7 I believe... I'm saying add7 instead of just minor 7 because I didn't want to confuse you with whether the minor was referring to the 3rd or the 7th... so yeah. a minor7th chord doesn't necessarily have a minor third.
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Tomatoes and Radiowire Vice Captain
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Posted: Mon Nov 17, 2008 10:13 pm
Right, 'cause sus is the all encompassing modifier that drops them like they're hot.
I had no idea that Tracy Chapman was a girl.
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